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Abstract

Criticism of popular music has, since it started to gain momentum in the sixties, contributed to the debate over what constitutes good pop music. There has only been a limited degree of debate over what constitutes good criticism of popular music, and there have been even fever efforts to conduct a thorough analysis to find out how this critical discipline functions. This paper enters a few of the aspects connected to criticism of popular music in order to find some answers to these questions. The main focus here is directed towards which criteria and rhetorical tools are being used, and how they contribute to the discourse of music criticism.